KALEIDOSCOPE: REIMAGINING TAGORE – INTIMACY & IDEOLOGY

A bold theatrical reimagining of Tagore’s Ghare Baire, Ghar Aur Bahar explores the fraught intersections of love, ideol...

BOLLYWOOD: SOME STORIES STAY BURIED

Why a sequel to Zubeidaa can never be made: because truth, memory, and myth blur irreversibly when royalty, cinema, and unresolved grief intert...

ALTERNATIVE ENTERTAINMENT: THE GENTLE GENIUS

Cinema, at its purest and most soul-stirring, found a devoted servant in Shaji N. Karun. Khalid Mohamed bids farewell to the g...

TAMAS: THE LIGHT OF TAMAS

Aparajita Krishna writes, “35 years after it lit India’s television screen and cinema, I am herei...

PAST IS MY MASTER AND EVENING MY DAWN: VINAY SHUKLA

His film-work has been artistically selective and also across-genres, fairly mainstream, writes Aparajita Krishna.

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Oh, those snakes and ladders

Khalid Mohamed reviews the politics-as-usual drama Madam Chief Minister, is brain-boggled by Qubool Hai 2.0 and finds sol...

Gup-shup with GoPu

Noted academic, playwright, writer Govind P Deshpande (2^nd August 1938 – 16^th October 2013) was be...

Playing corpse and killers

Khalid Mohamed has mixed feelings about the Mohanlal movie Drishyam 2, thumbs up three episode...

How the war was won

Khalid Mohamed reviews the inexplicably neglected 377 Ab Normal, is zapped by the mega-abrupt Lahore Confidential, and discove...